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Review Essay: Grappling with “Big Painting”: Akela Reason‟S Thomas Eakins and the Uses of History
Review Essay: Grappling with “Big Painting”: Akela Reason‟s Thomas Eakins and the Uses of History Adrienne Baxter Bell Marymount Manhattan College Thomas Eakins made news in the summer of 2010 when The New York Times ran an article on the restoration of his most famous painting, The Gross Clinic (1875), a work that formed the centerpiece of an exhibition aptly named “An Eakins Masterpiece Restored: Seeing „The Gross Clinic‟ Anew,” at the Philadelphia Museum of Art.1 The exhibition reminded viewers of the complexity and sheer gutsiness of Eakins‟s vision. On an oversized canvas, Eakins constructed a complex scene in an operating theater—the dramatic implications of that location fully intact—at Jefferson Medical College in Philadelphia. We witness the demanding work of the five-member surgical team of Dr. Samuel Gross, all of whom are deeply engaged in the process of removing dead tissue from the thigh bone of an etherized young man on an operating table. Rising above the hunched figures of his assistants, Dr. Gross pauses momentarily to describe an aspect of his work while his students dutifully observe him from their seats in the surrounding bleachers. Spotlights on Gross‟s bloodied, scalpel-wielding right hand and his unnaturally large head, crowned by a halo of wiry grey hair, clarify his mastery of both the vita activa and vita contemplativa. Gross‟s foil is the woman in black at the left, probably the patient‟s sclerotic mother, who recoils in horror from the operation and flings her left arm, with its talon-like fingers, over her violated gaze. -
2010-2011 Newsletter
Newsletter WILLIAMS G RADUATE PROGRAM IN THE HISTORY OF A RT OFFERED IN COLLABORATION WITH THE CLARK ACADEMIC YEAR 2010–11 Newsletter ••••• 1 1 CLASS OF 1955 MEMORIAL PROFESSOR OF ART MARC GOTLIEB Letter from the Director Greetings from Williamstown! Our New features of the program this past year include an alumni now number well over 400 internship for a Williams graduate student at the High Mu- going back nearly 40 years, and we seum of Art. Many thanks to Michael Shapiro, Philip Verre, hope this newsletter both brings and all the High staff for partnering with us in what promises back memories and informs you to serve as a key plank in our effort to expand opportuni- of our recent efforts to keep the ties for our graduate students in the years to come. We had a thrilling study-trip to Greece last January with the kind program academically healthy and participation of Elizabeth McGowan; coming up we will be indeed second to none. To our substantial community of alumni heading to Paris, Rome, and Naples. An ambitious trajectory we must add the astonishingly rich constellation of art histori- to be sure, and in Rome and Naples in particular we will be ans, conservators, and professionals in related fields that, for a exploring 16th- and 17th-century art—and perhaps some brief period, a summer, or on a permanent basis, make William- sense of Rome from a 19th-century point of view, if I am al- stown and its vicinity their home. The atmosphere we cultivate is lowed to have my way. -
HARD FACTS and SOFT SPECULATION Thierry De Duve
THE STORY OF FOUNTAIN: HARD FACTS AND SOFT SPECULATION Thierry de Duve ABSTRACT Thierry de Duve’s essay is anchored to the one and perhaps only hard fact that we possess regarding the story of Fountain: its photo in The Blind Man No. 2, triply captioned “Fountain by R. Mutt,” “Photograph by Alfred Stieglitz,” and “THE EXHIBIT REFUSED BY THE INDEPENDENTS,” and the editorial on the facing page, titled “The Richard Mutt Case.” He examines what kind of agency is involved in that triple “by,” and revisits Duchamp’s intentions and motivations when he created the fictitious R. Mutt, manipulated Stieglitz, and set a trap to the Independents. De Duve concludes with an invitation to art historians to abandon the “by” questions (attribution, etc.) and to focus on the “from” questions that arise when Fountain is not seen as a work of art so much as the bearer of the news that the art world has radically changed. KEYWORDS, Readymade, Fountain, Independents, Stieglitz, Sanitary pottery Then the smell of wet glue! Mentally I was not spelling art with a capital A. — Beatrice Wood1 No doubt, Marcel Duchamp’s best known and most controversial readymade is a men’s urinal tipped on its side, signed R. Mutt, dated 1917, and titled Fountain. The 2017 centennial of Fountain brought us a harvest of new books and articles on the famous or infamous urinal. I read most of them in the hope of gleaning enough newly verified facts to curtail my natural tendency to speculate. But newly verified facts are few and far between. -
2013 Teacher Preparation Programs a Review of The
A REVIEW OF THE NATION’S TEACHER PREPARATION PROGRAMS 2013 2013 AUTHORS: Julie Greenberg, Arthur McKee and Kate Walsh OUR THANKS TO: NCTQ Teacher Preparation Studies department, with adroit oversight from Robert Rickenbrode: Graham Drake, Marisa Goldstein, Katie Moyer, Chase Nordengren, Ruth Oyeyemi, Laura Pomerance, Hannah Putman and Stephanie Zoz Other NCTQ staff: Sarah Brody, Susan Douglas, Laura Johnson Expert consultants: Richard Askey, Andrew Chen, Marcia Davidson, Deborah Glaser, Mikhail Goldenberg, Roger Howe, R. James Milgram, Yoram Sagher and Anne Whitney Subject specialists: Heidi Abraham, Mary Alibrandi, Melissa Brock, Sarah Carlson, Susan Clarke, Aileen Corso, Gordon Gibb, Robert P. Marino, Nancy Nelson-Walker, Felicity Ross, Julie Shirer, Jamie Snyder, Jessica Turtura and Shirley Zongker Analysts: Katherine Abib, Andrew Abruzzese, Paul Aguilar, Cheryl Anderson, Naomi Anisman, Gail Arinzeh, Alex Au, Christian Bentley, Kate Bradley-Ferrall, Tara Canada, Erin Carson, Justin Castle, Alicia Chambers, Theodora Chang, Kimberly Charis, Bridget Choudhary, Hester Darcy, Melissa Donovan, Zachary Elkin, Amy Elledge, Michelle Crawford-Gleeson, Nikee Goffigan, Samantha Greenwald, Whitney Groves, Catherine Guthrie, Sumner Handy, Bess Hanley, Chelsea Harrison, Stephanie Hausladen, Heather Hoffman, Sean Hutson, Anne Kaiser, Kate Kelliher, Maria Khalid, Rebekah King, Susan Klauda, Michael Krenicky, Jay Laughlin, Alicia Lee, Christine Lincke, Michelle Linett, Karen Loeschner, Leslie Mazeska, Shannon McCutchen, Ashley Miller, Natasha Ettienne, -
October 2017
The Monthly Newsletter of the Philadelphia Sketch Club Gallery hours: Wednesday, Friday, Saturday, Sunday: 1 PM to 5 PM October 2017 Michelle Lockamy This Month’s Portfolio Reminder: It’s never too late. You can always renew your membership The Sketch Club’s 157th Anniversary Gala 2 You may pay online at http://sketchclub.org/annual- Support the Sketch Club 5 dues-payment/ Membership 8 or mail your check to: Sketch Club Activities 9 The Philadelphia Sketch Club Member Activities 11 235 S. Camac St. 2017 Main Gallery Schedule 12 2017 Stewart Gallery Schedule 15 Philadelphia, PA 19107 Sketch Club Open Workshop Schedule 16 For questions please contact the Gallery Manager at Art Natters: Members News 17 213335-545-9298 or email: Calls for Work and Notices 23 [email protected] Member Classifieds 25 Late Breaking News – See items that were submitted Call for Volunteers 26 after the publication date. Go to: Send your member news, announcements and corrections to [email protected] [email protected]. The deadline for ALL submissions The PSC general email is: info@sketchclub is 1-week before the end of the month. The Philadelphia Sketch Club - 235 South Camac Street - Philadelphia PA 19107 - 215-545-9298 A nonprofit organization under Chapter 501(c)(3) of the Internal Revenue Code. Page 1 The Monthly Newsletter of the Philadelphia Sketch Club Gallery hours: Wednesday, Friday, Saturday, Sunday: 1 PM to 5 PM October 2017 The Sketch Club’s 157th Anniversary Gala The Philadelphia Sketch Club’s 157th Anniversary Gala Please join us for our 157th Anniversary Gala on Saturday, October 21st. -
European Journal of American Studies, 14-3
European journal of American studies 14-3 | 2019 Special Issue: Harriet Prescott Spofford: The Home, the Nation, and the Wilderness Electronic version URL: https://journals.openedition.org/ejas/14869 DOI: 10.4000/ejas.14869 ISSN: 1991-9336 Publisher European Association for American Studies Electronic reference European journal of American studies, 14-3 | 2019, “Special Issue: Harriet Prescott Spofford: The Home, the Nation, and the Wilderness” [Online], Online since 29 October 2019, connection on 08 July 2021. URL: https://journals.openedition.org/ejas/14869; DOI: https://doi.org/10.4000/ejas.14869 This text was automatically generated on 8 July 2021. European Journal of American studies 1 TABLE OF CONTENTS Introduction. Harriet Prescott Spofford: The Home, the Nation, and the Wilderness Stéphanie Durrans History, Her-Story Harriet Prescott Spofford’s Development of a Protestant Aesthetic for a Diverse Nation Paula Kot Feminizing a Colonial Epic: On Spofford’s “Priscilla” Daniela Daniele Feminist (Re)Writings “She Was the Mad Woman”: Misdiagnosed Madness in Harriet Prescott Spofford’s “Her Story” Sirpa Salenius Of Women, Wine and Salt: Revisioning the Home in Harriet Prescott Spofford’s Detective Fiction Stéphanie Durrans New Readings of “Circumstance” Narrating Violation: Harriet Prescott Spofford’s “Circumstance” Rita Bode Feline Alter Egos in Harriet Prescott Spofford’s “Circumstance” and the Poetry of Emily Dickinson Adeline Chevrier-Bosseau Dissolving Boundaries: Fluidity, Metamorphoses, and Queer Undercurrents Specular Metamorphoses: Harriet Prescott Spofford’s “The Ray of Displacement” Asunción López-Varela Seductive Snakes and Asexual Angels: Queer Undercurrents in Harriet Prescott Spofford’s “Desert Sands” H.J.E. Champion “Per si muove—it was a mass of moonstone”: Fluidity, Dynamic Relations, and the Commodification of Storytelling in Harriet Prescott Spofford’s Arctic Writings Verena Laschinger European journal of American studies, 14-3 | 2019 2 Introduction. -
The Seated Cleopatra in Nineteenth Century American Sculpture
Virginia Commonwealth University VCU Scholars Compass Theses and Dissertations Graduate School 1997 The Seated Cleopatra in Nineteenth Century American Sculpture Kelly J. Gotschalk Virginia Commonwealth University Follow this and additional works at: https://scholarscompass.vcu.edu/etd Part of the History of Art, Architecture, and Archaeology Commons © The Author Downloaded from https://scholarscompass.vcu.edu/etd/4350 This Thesis is brought to you for free and open access by the Graduate School at VCU Scholars Compass. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of VCU Scholars Compass. For more information, please contact [email protected]. APPROVAL CERTIFICATE The Seated Cleopatra in Nineteenth Century AmericanSculpture by Kelly J. Gotschalk Director of Graduate Studies � Dean, School of the Arts Dean, School of Graduate Studies �////PP? Date THE SEATED CLEOPATRA INNINETEENTH CENTURY AMERICAN SCULPTURE by Kelly J. Gotschalk B.F.A., Virginia Commonwealth University, 1990 Submitted to the Faculty of the School of the Arts of Virginia Commonwealth University in Partial Fulfillment of the Requirements forthe Degree Master of Arts Richmond, Virginia November, 1997 ACKNOWLEDGMENTS I would like to thank Dr. Fredrika Jacobs and Dr. Charles Brownell fortheir invaluable guidance andendless encouragement in the preparation of this thesis. I would also like to thank my husband, Tom Richards, and my family for their constant support and understanding. In addition, my sincere thanks to my co-workers, Amanda Wilson, Christin Jones and Laurel Hayward fortheir friendship, proofreadingand accommodating a few spur-of-the-moment research trips. ii CONTENTS ACKNOWLEDGMENTS.. .. .. .. .. .. .. 11 LIST OF ILLUSTRATIONS. iv ABSTRACT ......................................... V JNTRODUCTION. -
Fundraisers Quit Dean of Students Resigns
erv Vol. 13, No. 26 TUFTS UNIVERSITY Thursday, May 17, 1979 '--"'-----------------------..-----------------------------:---~------------ _. Cente,ij Partial divestment supported; proposal TCSAD nixes office occupation The Trustee Finance Com what percentage of Tufts' port the findings of their own advisory advances mittee <FinCom> recommended folio would be affected if the committee, as well as the last week a partial divestment of policy is approved by the full majority of students wo favor By WENDY O'DONNELL Tufts' $46.4 million in in Board of Trustees. Plans for a student funded divestment," Yuill commented. vestments in 26 companies doing TCSAD spokesperson Barbara campus center were reviewed by In its report, the committee business in South Africa. Yuill said that 20 -of the com noted, "We do not believe that a Trustee commmittee last week The nine-member committee mittee's 60 members were ready corporate withdrawal is and forwarded to administrators released a nine page statement to occupy Mayer's office in necessarily the most effective for further study, Dean of Friday, just before members of protest of what she called action against apartheid." Faculty Bernard Harleston the Tufts Committee for South repealed delays in the the The full Board is expected to reported this week. African Divestment <TCSAD> university's response to their hear the motion on May 19. TCU Senate Chairman Tom DAN WINSLOW had planned to take over demands for divestment. She Mayer, as well as Dean of Alperin and IDC Chairman Dan ... relates progress President Jean Mayer's office in said that a decision about Faculty of Arts and Sciences Winslow presented the plan to the divestment had been promised by committee referred the proposal Ballou Hall. -
Art Hand-Book, Sculpture, Architecture, Painting
:. •'t-o^ * ^^' v^^ ^ ^^^^\ ^^.m <. .*^ .. X 0° 0^ \D^ *'ir.s^ A < V ^^; .HO^ 4 o *^,'^:^'*.^*'^ "<v*-^-%o-' 'V^^''\/^ V*^^'%^ V\^ o '^^ o'/vT^^^ll^"" vy:. -rb^ ^oVv^'' '^J^M^^r^^ ^^jl.^0'rSi' ^oK °<<. ^""^^ • Sculpture » Architecture * Painting Official H^NDBOOKo/ARCHITECTVRE and SCULPTURE and ART CATALOGUE TO THE Pan-American Exposition With Maps and Illustrations by -permission of C. D. Arnold, Official Photographer BUFFALO, NEW YORK, U. S. A., MAT FIRST TO NOVEMBER FIRST, M. CM. & I. Published by DAVID GRAY, Buffalo, N. Y. Entered according to Act of Congress in the year 1901, by David Gray, in the Office of the Librarian of Congress, at Washington, D. C. • • • • • e • • •• V. • » » « » . f>t • •_••» »'t»» » » » * • • . CONGRESS, Two Copiea Received JUN. 17 1901 Copyright entry EXPOSITION, 1901. CLASS ^XXc N». PAN-AMERICAN Buffalo, N. Y. , U. S. A COPY 3, Office of Director-General. March 30, 1901. To whom it may concern: — Mr. David Gray of this City has "been granted hy the Exposition a concession to publish the Art Catalogue of the Exposition^ which will he a hook in reality a memorial of the ideals of the Exposition in Archi- tecture, Sculpture and Pine Arts. WILLIAM I. BUCHANAN, Director-General The articles, pictures and catalogue descriptions in the Pan-American Art Hand Book are copyrighted, and publication thereof without permission is forbidden. \ r..k^ ^'««- -^ -"^^ ^^ This Art Hand Book was made by the publishing and printing house of ISAAC H,. BLANCHARD CO,, in the city of New Torky at 268 and 270 Canal Street, * 200 feet, iij9 inches east of Broadway. -
A Finding Aid to the Carlen Galleries, Inc., Records, 1775-1997, Bulk 1940-1986, in the Archives of American Art
A Finding Aid to the Carlen Galleries, Inc., Records, 1775-1997, bulk 1940-1986, in the Archives of American Art Catherine S. Gaines 2002 Archives of American Art 750 9th Street, NW Victor Building, Suite 2200 Washington, D.C. 20001 https://www.aaa.si.edu/services/questions https://www.aaa.si.edu/ Table of Contents Collection Overview ........................................................................................................ 1 Administrative Information .............................................................................................. 1 Historical Note.................................................................................................................. 2 Scope and Content Note................................................................................................. 2 Arrangement..................................................................................................................... 3 Names and Subjects ...................................................................................................... 3 Container Listing ............................................................................................................. 5 Series 1: Gift (1986), 1906-1986............................................................................. 5 Series 2: Loan (1988), 1937-1986......................................................................... 11 Series 3: Gift (2002), 1835-1992............................................................................ 13 Series 4: Loan (2002), -
Bruce and Barbara Feldacker Labor Art Collection Reference Collection
Page 1 of 31 Bruce and Barbara Feldacker Labor Art Collection Reference Collection These books may be accessed through the Mercantile Library Rare Book Reading Room. All books are non-circulating. Book # Author Title Publication Info. Notes The Painter's America: Rural and Urban In association with the Whitney 4 Hills, Patricia Life, 1810-1910 [The] New York: Praeger Publishers, 1974 Museum of American Art Selections from the Penny and Elton Yasuna Collection; Essays Jeffett, William, ed. Surrealism in America During the 1930s by Martica Sawin and William 6 (curator) and 1940s FL: Salvador Dali Museum Jeffett With an essay by Guy Davenport; New York: Harry N. Abrams, Inc., from the Museum of Modern Art, 7 Castleman, Riva (ed.) Art of the Forties 1994 New York Los Angeles: The Wheatley Press, In association with the University 8 DeNoon, Christopher Posters of the WPA 1987 of Washington Press, Seattle Social Concern and Urban Realism: Publication Center Cultural Resources, 9 Hills, Patricia American Painting of the 1930s 1983 With an essay by Raphael Soyer Precisionism in America 1915-1941: New York: Harry N. Abrams, Inc., In association with the Montclair 11 Murphy, Diana Reordering Reality 1995 Art Museum 13 Kent, Norman (ed.) Drawings by American Artists New York: Bonanza Books, 1970 ASIN: B000G5WO7Q Page 2 of 31 Slatkin, Charles E. and New York: Oxford University Press, 14 Shoolman, Regina Treasury of American Drawings 1947 ASIN: B0006AR778 15 American Art Today National Art Society, 1939 ASIN: B000KNGRSG Eyes on America: The United States as New York: The Studio Publications, Introduction and commentary on 16 Hall, W.S. -
The Domestication of History in American Art: 1848-1876
W&M ScholarWorks Dissertations, Theses, and Masters Projects Theses, Dissertations, & Master Projects 1998 The domestication of history in American art: 1848-1876 Jochen Wierich College of William & Mary - Arts & Sciences Follow this and additional works at: https://scholarworks.wm.edu/etd Part of the American Studies Commons, History of Art, Architecture, and Archaeology Commons, and the United States History Commons Recommended Citation Wierich, Jochen, "The domestication of history in American art: 1848-1876" (1998). Dissertations, Theses, and Masters Projects. Paper 1539623945. https://dx.doi.org/doi:10.21220/s2-qc92-2y94 This Dissertation is brought to you for free and open access by the Theses, Dissertations, & Master Projects at W&M ScholarWorks. It has been accepted for inclusion in Dissertations, Theses, and Masters Projects by an authorized administrator of W&M ScholarWorks. For more information, please contact [email protected]. INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand comer and continuing from left to right in equal sections with small overlaps.